My review of Kobina Ansah's 'In The Pants Of A Woman'

Kobina Ansah’s latest play, “In the Pants of a Woman,” premiered at the National Theatre last weekend and featured a total of four shows (two on Saturday and two on Sunday). For those familiar with Kobina Ansah’s journey as a playwright, from his debut with “This Family Is Not For Sale,” it is evident that he possesses incredible tenacity.

The theatrical landscape in Ghana presents numerous challenges for producers and directors, with securing sponsorship being among the most significant. However, Kobina Ansah and his team at Scribe Productions have remained steadfast, ensuring their commitment to producing quarterly family-oriented plays remains unwavering. Kobina Ansah’s dedication and perseverance merit commendation in every respect.

I attended the final show of the weekend’s four scheduled performances. At 7 PM on the dot, the curtains rose. There’s a saying that the beginning of a play is akin to the opening of a door, inviting the audience into another world. That sentiment perfectly captured the opening moments of this production, ushering us into the world of Akasanoma Radio. It was a powerful and symbolic opening, rich with meaning for me.

Kobina Ansah’s choice of setting couldn’t have been more apt. Situating the play within the context of the media, often regarded as the fourth estate due to its vital role in addressing societal issues, gave it profound significance. The first of the original compositions by the production team struck the perfect balance of compelling lyrics, upbeat tone, and captivating delivery by the cast, setting the stage for the captivating showdown that ensued.

“In the Pants of a Woman” addressed the pervasive issue of rape within our society, with its central message urging victims to break their silence. The play explored the various aspects of the discourse surrounding rape, such as victim blaming, the normalization of rape jokes, the tendency to handle rape incidents quietly as ‘family matters’, the detrimental impact of a culture of silence, and the subject of the rape of the males too. Additionally, it sheds light on the crucial roles of the media and law enforcement agencies in combating this societal scourge.

The plot of the play revolves around the harrowing experiences of young women who fell victim to the abuse of Mr. Zormelo, the owner and manager of Akasanoma Radio. In a display of solidarity, two survivors, along with the sister of a deceased victim who tragically took her own life due to the stigma of her assault, unite forces to expose the perpetrator and seek justice.

Their collective efforts through courageous confrontation, speaking up, and undercover investigation led to the gathering of substantial evidence for an arrest aimed at holding the rapist accountable for his egregious actions against multiple young women.

While rape was the primary theme, the playwright also utilized the platform to address other pressing issues confronting the nation. This included suicide, the environmental devastation caused by illegal mining (galamsey), the pervasive influence of bribery and corruption, and the divisive nature of politics. Through its multifaceted narrative, the play gave me a lot to reflect on, and it urged us to continue dialogue on a range of critical issues affecting Ghanaian society.

The play’s delivery matched its powerful message. The acting was superb, with the cast delivering A+ performances. They were so good that, despite disliking and disagreeing with characters like Mr. Zormelo and Dr. Ray, one couldn’t help but applaud their acting prowess.

Balancing humour in a production addressing such serious subject matter is no easy feat, yet Kobina Ansah managed it very well. The scenes struck the perfect balance, incorporating just the right amount of humour without detracting from the gravity of the themes being explored. This is a significant achievement in theatre, where audience expectations often lean towards entertainment from start to finish.

While the play’s overall tone was sombre, the production interwove moments of lightness, ensuring the audience’s spirits remained uplifted throughout. These moments of laughter served as reminders of resilience in the face of adversity, enriching the theatrical experience and leaving a lasting impact on the audience.

Kobina Ansah’s attention to detail extended beyond the performances themselves. The costumes were great, and the stage design was a work of art in itself, designed as a radio station. The set featured a split space, with one side representing the bustling studio where societal issues were addressed head-on and the other side portraying the station manager’s office, where these very issues were perpetuated. This dual-stage concept wasn’t merely decorative; it served as a powerful metaphor for the state of the media and the nation it serves, emphasizing the contrast between addressing societal ills and perpetuating them within the same institutional framework.

In addition to the set design, the stage management was a testament to professionalism. Transitions between scenes were smooth, maintaining the momentum of the narrative without a hitch. The lighting was as good as all the other positive aspects of the production. The lights played a pivotal role in setting the mood and atmosphere of each scene. From subtle shifts in colour to dramatic spotlights, the lights enhanced the emotional meaning of the performances, guiding the audience through the highs and lows of the story with masterful subtlety.

Now, onto one of the highlights of the production—the scene I’ve come to call “Story Story,” named after the emotionally charged song performed by the character Kusiwaa. In this scene, Kusiwaa recounts the tragic tale of her sister’s untimely demise, a vibrant life cut short by the sinister actions of Mr. Zormelo. The song itself was a masterpiece, delivered with raw emotion and haunting beauty by the talented performer who played that role. What truly elevated the scene, however, was the incorporation of flashbacks, transporting the audience into heart-wrenching memories as Kusiwaa poured her soul into her performance. The impact of this scene was palpable, with a tangible sense of emotion reverberating throughout the theatre. While I did not see anyone crying, it’s unsurprising to hear that many patrons took to social media to express how deeply the play moved them.

Another noteworthy aspect of this production was the originality of the songs performed. Composed specifically for the play, these songs represented a bold departure from the typical reliance on mainstream hits or adaptations of those in theatre productions.

While familiar tunes may offer a sense of comfort and audience engagement, Scribe Productions’ decision to take a creative risk paid off. What truly set these songs apart was their exceptional quality. Spanning a diverse range of genres, each composition was evidence of the skill and artistry of the performers who brought them to life on stage and fostered a deeper connection with the audience. Moreover, the decision to project the lyrics on screens at the National Theatre further enhanced the audience’s engagement with the music.

While the original songs were undoubtedly a highlight, I couldn’t help but feel that their abundance, totalling about sixteen in a two-and-a-half-hour production, may have slightly impacted the pacing. It’s worth considering the balance and pacing of musical performances in future productions to ensure optimal engagement and flow.

In closing, I would like to commend Kobina Ansah and the entire Scribe Productions team again. Their dedication and creativity truly shone through in “In the Pants of a Woman,” exceeding expectations and leaving a lasting impression on me and, I believe, the audiences who saw the play last weekend. I have no doubt that future plays will continue to reach new heights, contributing to the advancement of the creative industry in Ghana.

I also echo the hope that corporate institutions recognize the value of theatre and invest in Kobina Ansah’s plays and similar ventures. With adequate funding, there’s immense potential to further enrich the cultural landscape and support the growth of the creative sector in Ghana.

Here’s to a future filled with even more groundbreaking productions and meaningful contributions to the arts community!